International pharmaceutical company The Umbrella Corporation's deadly T-virus - initially designed to dramatically alter living and recently dead organisms - continues its rapid spread throughout the world, turning everyone in its path to flesh eating zombies, after it was released from the company's underground base near Raccoon City.

Milla Jovich returns as Alice, one of her most loved characters, in Resident Evil: Afterlife. Continuing on her search to find and help rescue survivors of the lethal virus outbreak she travels to LA. Alice finds herself in a city overrun by the undead and more importantly she also finds the Umbrella corporations base.

Based on the 1985 BBC TV series, also directed by Campbell, this dramatic thriller tries to pack so much into two hours that it ends up feeling thin and repetitive. But it's great to have Gibson back on screen.

Everyone suspects Thomas was the real target, but his investigation leads him into a conspiracy involving her job with a monolithic defence contractor run by the shady Bennett (Huston). Then he meets government clean-up expert Jedburgh (Winstone) and starts to realise the extent of what's gong on. Can he blow the whistle before they rub him out too?

Mere minutes into his latest exercise in politically-conscious cannibalism, an overtly-serious voice alerts us that this is not a movie by the inimitable George A. Romero. It is, in fact, a sort of video assemblage culled from footage shot by Jason Creed (Josh Close), a young film student living and working in Pennsylvania. This makeshift eulogy is spoken by Creed's main squeeze Debra (Michelle Morgan) who serves as editor of Creed's posthumous opus, ingeniously-titled The Death of Death.

After the initial frames turn an immigrant family into a bunch of slow-moving flesh-chewers taped by a local newsman, the perspective shifts directly to Creed's camera as he shoots the zombie rampage that was meant to be his senior thesis for his professor (Scott Wentworth), a world-class alcoholic. As his star (Philip Riccio) takes off for his mansion with the sound girl, Creed and his crew start hearing broadcasts over the internet and the radio about the dead coming back to life: the death of death indeed.